She is probably best remembered for her wistful-husky voice which, as Pauline Kael wrote, "was one of the best sounds in the romantic comedies of the 30s and 40s". But Jean Arthur's screen career began in silent films and spanned more than a quarter of a century. She worked with great directors of Hollywood's Golden Age: John Ford, Frank Capra, Cecil B. DeMille, Howard Hawks, George Stevens and Billy Wilder; and she shared star billing with the likes of Gary Cooper, James Stewart, Cary Grant, Alan Ladd, Charles Boyer and John Wayne. Her most enduring films include Mr. Deeds Goes to Town, You Can't Take It With You, Mr. Smith Goes to Washington, The More the Merrier, The Whole Town's Talking, A Foreign Affair and, in her last screen appearance, Shane. She was, in fact, one of the most popular and beloved movie stars of her time. Jean Arthur's popularity sprang from her talent, her charm and her quiet beauty, not from her offscreen exploits. Independent, indifferent to most of Hollywood's rules if not defiant of them, treasuring her privacy above all else, she chose to become an enigma - and so she has remained until now. In this, the first biography of Jean Arthur, John Oller, after years of research among the actress's closest friends, relatives and co-workers, has uncovered the life she tried so hard to shroud: a bruising, rootless childhood that left her with a crushing sense of insecurity, but also a steely determination to stand up for herself and what she believed in; a romance with David O. Selznick that ended unhappily, a childless marriage to film executive Frank Ross that descended into bitterness and recrimination, and rumors of lesbianism that continue to this day; legal battles fought over the roles she was offered as well as in defense of animals and the environment; repeated, aborted attempts to conquer Broadway that yielded but one theatrical triumph - as Peter Pan, a character she loved because, like herself, he refused to deal with the world on its terms. This is an engrossing, humane biography that strikes a fitting balance between the acting career and the personal life of an unforgettable star, and does full justice to both.

Blonde, vivacious Jean Arthur is best remembered today for her unizue, childlike voice and for the handful of classic Thirties and Forties movies she made for directors Frank Capra and George Stevens, such as You Can't Take It With You, Mr. Smith Goes to Washington, The More the Merrier and her last picture Shane, released in 1953. But not many know that her 30-year film career dates from the early Twenties, when she was an inexperienced contract player at Fox. In fact, Arthur appeared in more movies of the silent era (mostly program Westerns and minor comedies) than she made after the advent of sound. Born with the name Gladys Greene in 19-00, Jean Arthur renamed and reinvented herself when she arrived in Hollywood in 1922, fictionizing her background and subtracting eight years from her actual age. Colleagues have recalled the eccentric personality and behind-the-scenes insecurities that negated her popularity with the press and inhibited her later career as a stage and TV star, prompting her eventual retreat into seclusion. All of these exploits and more are detailed in this comprehensive biofilmography by Jerry Vermilye, a much published author who tells his story in a brisk non-judgmental style that has drawn critical praise for his volumes on such legendary film personalities as Cary Grant, Barbara Stanwyck, Bette Davis, Charles Bronson, Audrey Hepburn, Buster Crabbe, Lawrence Olivier. and Elizabeth Taylor. This book includes casts, production credits and critical commentary on Jean Arthur's many films, as well as 100 scene stills, portraits and candids, many of them are photographs from the author's private collection.

This bibliography presents an in-depth profile of Jean Arthur--an important, and much neglected figure of the American film industry. Along with basic biographical information, the book gives a detailed examination of her career and contribution to the entertainment field. Jean Arthur contributed to several branches of the entertainment media--film, radio, stage, television, yet surprisingly, she has been greatly overlooked by many historians. This book fills that void. As this bio-biography reveals, after many years of struggle Jean Arthur found herself a major star during the 1930s. Arthur exhibited a unique combination of girlish appeal and ladylike competence. Her evident joy at performing before the camera would turn into neurotic fear between scenes. Her popularity among peers, directors, and fellow performers, was contradicted by her near paranoia in demanding privacy and remoteness in her private life. The book's bibliography includes dozens of references to reviews in film periodicals, as well as excerpts from reviews of nearly all her films. This section also includes reviews of her stage and television careers, as well as a detailed listing of her radio contributions. The authors have compiled the book's filmography from a number of sources in an attempt to make both the cast and production credits as complete as possible. The book also includes a number of illustrations drawn from the authors' private collection, such as lobby cards, posters, and photographs. The appendix contains three articles, reprinted verbatim, from typical fan magazines. The articles by Romayne and John Wayne provide excellent pictures of what it was like to work with Jean Arthur. The third article, by Miss Arthur herself, presents her feelings on a subject dear to her, namely the independence of women and how film has contributed to her emancipation. This book should appeal to both scholar and film historian as well as the casual reader and movie lover. With its unequalled filmography and annotated listing of media contributions, this book will be invaluable as a reference in any film library.

Behold the history of a film so scandalous, so outrageous, so explosive it disappeared from print for over a quarter century! A film so dangerous, half its cast and crew met their demise bringing eccentric billionaire Howard Hughes’ final cinematic vision to life! Starring All-American legend John Wayne in full Fu Manchu make-up as Mongol madman Genghis Khan! Featuring sultry seductress Susan Hayward as his lover! This is the true story of The Conqueror (1956), the worst movie ever made. Filmed during the dark underbelly of the 1950s—the Cold War—when nuclear testing in desolate southwestern landscapes was a must for survival, the very same landscapes were where exotic stories set in faraway lands could be made. Just 153 miles from the St. George, Utah, set, nuclear bombs were detonated regularly at Yucca Flat and Frenchman Flat in Nevada, providing a bizarre and possibly deadly background to an already surreal moment in cinema history. This book tells the full story of the making of The Conqueror, its ignominious aftermath, and the radiation induced cancer that may have killed John Wayne and many others.

Educated in the humanities and trained in psychiatry, Jean Starobinski is a central figure in the Geneva School of criticism. For twenty-five years his work has had considerable influence on postmodern European critics (notably Derrida), scholars of French literature, and intellectual historians. Montaigne in Motion is his subtly conceived and elegantly written study of the Essais of Montaigne, whose deceptively plainspoken meditations have entranced readers and stimulated philosophers since their first publication in 1580 and 1595. Starobinski here offers a decidedly postmodern reading of Montaigne. In chapters dealing with the themes of public and private life, friendship, death, the body, and love, Starobinski interprets Montaigne's writings as a constant "working through" that leads Montaigne from a situation of unreasoned dependence to a revolt affirming his independence and self-sufficiency, and finally toward an acceptance and mastery of necessary relations. Placing this ternary movement at the very heart of the Montaignian enterprise, Starobinski reveals much that will remind us that Montaigne's thought is as apropos to our time as it was to his own.

In a forgotten age of chaos and darkness, a magnificent king arose to light the land. He was Arthur, Pendragon of the Island of the Mighty who would rise to power in a Britain torn by violence and would usher in a glorious reign of peace. Copyright © Libri GmbH. All rights reserved.

The luminous star of Mr. Smith Goes to Washington, Shane, and other classic films was, as the subtitle aptly puts it, "the actress nobody knew." Jean Arthur (1900-91) kept her personal life private, disdained the Hollywood publicity machine, and was called "difficult" because of her perfectionism and remoteness from costars on the movie set. John Oller, a lawyer, tracked down kinsfolk and friends never before interviewed to capture the elusive personality of a free spirit best embodied in her favorite role, Peter Pan. Arthur herself might have appreciated his warm, respectful portrait. "... An insightful, painstakingly researched analysis of Arthur's life and career raises the curtain on the complex, conflicted person behind the screen persona...Captures the special shine of a unique star who turned out to be a genuine eccentric." - Chicago Tribune